Sarah
A2 / Deck Sound
A2 / Deck Sound
A2 is short for Production Audio Technician or Audio Assistant. An A2 is the stagehand responsible for all things mics, monitors, audio interface systems and communication systems. Our Sound Designer was actually the one who acquired the microphones, but I was very hands on with the distribution and maintenance of the elements. Team sound was tasked with controlling the look and sound the audience was receiving in terms of mic and speaker usage.
I lived on Stage Left for the duration of the show. My daily tasks included but were not limited to : Mic instrument assembly and Sound Check with Vir (A1), assist A1 with Orchestra pit mic sound check, verify communication system status and pit visual monitors, readjusting mic placement on actors before entrances and after quick changes, and being on stand by for any mic related issues that needed to be fixed from backstage (on deck).
Challenges came in many forms during this process. Whether it was having to create a GroupMe in order to better communicate during show runs or hair clips breaking and untying, everything adds up and it can be overwhelming.
There was an actor who’s perspiration would consistently affect the transmitter throughout the run of the show and so we were able to put additives to the pack to help combat this. This included Mic Covers, Cotton Balls, as well as going as far as to put the pack upside down on the actor.
Something we had to keep in mind was the diversity of our cast and how the shade ranges would be translated onto the mic elements. Since they were all a pale color, we had to figure out how to make them look as seamless as possible to the actor without permanently coloring the elements. We colored medical tape with alcohol markers that would blend in with their skin tones. I wouldn't call this a challenge, but more so a thought provoking experience that reminded me how important it is to take the time to do these things, as tedious as they are. This care not only makes for a better visual experience for the audience, but also makes sure that the talent feels equally supported and treated with equal respect as anyone else in the company.
Photo Credit : Kaitlyn Fox
Hello! I am Sarah Cadena, a Sophomore at Wake Forest University. I've worked as an actor, light operator, and a properties head, but this year was my first time diving into sound.
Through this Sound Design for Musical Theatre course, I've learned that the design element of sound in Musical Theatre goes far beyond hitting 'GO' for sound cues or slapping a mic onto an actor and calling it a night. We as a Sound Team aim to bring the best listening experience possible for the entire audience and keep that consistency night after night. Some ways we do this are adjusting equalization levels, adding delays to speakers, and maneuvering the placement of microphones on our talent.
Sound for Musical Theatre is about balancing all of the individual sound sources in a way that gives the audience an experience that follows the integrity of the vision of the show. Whether this be adjusting microphone gains so we hear the actors from the house as if they were unmiced, or choosing which speakers sound comes from to further assist in the storytelling, the sound design can make or break the viewers theatrical experience.
Biggest Take Away : Keeping track of and updating your paperwork is so important!